Visual artists have long been in the forefront of social criticism in America. Since the 1960s, various visual strategies have helped emergent progressive political movements articulate and represent complex social issues. Which artists and particular art works/projects have become key anchors for discourses on racism, sexism, economic and social inequality, and immigrant rights? We will learn about a spectrum of political art designed to raise social awareness, spark social change and rouse protest. The Art Workers? Coalition?s agit-prop opposing the Vietnam War and ACT-UP?s emblematic signs and symbols during the AIDS/HIV crisis of the 1980s galvanized a generation into action. Works such as Judy Chicago?s The Dinner Party (1979), Fred Wilson?s Mining the Museum (1992), and Glenn Ligon?s paintings appropriating fragments from African-American literature all raised awareness by excavating historical evidence of the long legacy of marginalization and modeled ways of resisting that marginalization. For three decades feminist artists Barbara Kruger and the Guerilla Girls have combined institutional critique and direct address into a provocative form of criticality. Recent art for social justice is reaching ever broadening publics by redrawing the role of artist and audience exemplified by the democratization of poster making and internet campaigns of the Occupy and #BlackLivesMatter movements. Why are each of these examples successful as influential and enduring markers of social criticism? We will also consider the visual culture of new protest strategies in the Post-Occupy era. What have these socially responsive practices contributed to our understanding of American history? We will conclude with an investigation into large-scale transnational participatory projects, including Tania Bruguera?s Immigrant Movement International and Ai Weiwei?s @Large on Alcatraz Island.Visual artists have long been in the forefront of social criticism in America. Since the 1960s, various visual strategies have helped emergent progressive political movements articulate and represent complex social issues. Which artists and particular art works/projects have become key anchors for discourses on racism, sexism, economic and social inequality, and immigrant rights? We will learn about a spectrum of political art designed to raise social awareness, spark social change and rouse protest. The Art Workers? Coalition?s agit-prop opposing the Vietnam War and ACT-UP?s emblematic signs and symbols during the AIDS/HIV crisis of the 1980s galvanized a generation into action. Works such as Judy Chicago?s The Dinner Party (1979), Fred Wilson?s Mining the Museum (1992), and Glenn Ligon?s paintings appropriating fragments from African-American literature all raised awareness by excavating historical evidence of the long legacy of marginalization and modeled ways of resisting that marginalization. For three decades feminist artists Barbara Kruger and the Guerilla Girls have combined institutional critique and direct address into a provocative form of criticality. Recent art for social justice is reaching ever broadening publics by redrawing the role of artist and audience exemplified by the democratization of poster making and internet campaigns of the Occupy and #BlackLivesMatter movements. Why are each of these examples successful as influential and enduring markers of social criticism? We will also consider the visual culture of new protest strategies in the Post-Occupy era. What have these socially responsive practices contributed to our understanding of American history? We will conclude with an investigation into large-scale transnational participatory projects, including Tania Bruguera?s Immigrant Movement International and Ai Weiwei?s @Large on Alcatraz Island.Visual artists have long been in the forefront of social criticism in America. Since the 1960s, various visual strategies have helped emergent progressive political movements articulate and represent complex social issues. Which artists and particular art works/projects have become key anchors for discourses on racism, sexism, economic and social inequality, and immigrant rights? We will learn about a spectrum of political art designed to raise social awareness, spark social change and rouse protest. The Art Workers? Coalition?s agit-prop opposing the Vietnam War and ACT-UP?s emblematic signs and symbols during the AIDS/HIV crisis of the 1980s galvanized a generation into action. Works such as Judy Chicago?s The Dinner Party (1979), Fred Wilson?s Mining the Museum (1992), and Glenn Ligon?s paintings appropriating fragments from African-American literature all raised awareness by excavating historical evidence of the long legacy of marginalization and modeled ways of resisting that marginalization. For three decades feminist artists Barbara Kruger and the Guerilla Girls have combined institutional critique and direct address into a provocative form of criticality. Recent art for social justice is reaching ever broadening publics by redrawing the role of artist and audience exemplified by the democratization of poster making and internet campaigns of the Occupy and #BlackLivesMatter movements. Why are each of these examples successful as influential and enduring markers of social criticism? We will also consider the visual culture of new protest strategies in the Post-Occupy era. What have these socially responsive practices contributed to our understanding of American history? We will conclude with an investigation into large-scale transnational participatory projects, including Tania Bruguera?s Immigrant Movement International and Ai Weiwei?s @Large on Alcatraz Island.

Cross-listed with SOMGEN 237 and FEMGEN 237. HumBio students must enroll in HumBio 28 or AFRICAAM 28. An overview of the acute and chronic physical and psychological health impact of sexual abuse through the perspective of survivors of childhood, adolescent, young and middle adult, and elder abuse, including special populations such as pregnant women, military and veterans, prison inmates, individuals with mental or physical impairments. Also addresses: race/ethnicity, gender identity, sexual orientation, and other demographic and societal factors, including issues specific to college culture. Professionals with expertise in sexual assault present behavioral and prevention efforts such as bystander intervention training, medical screening, counseling and other interventions to manage the emotional trauma of abuse. Undergraduates must enroll for 3 units. Medical and graduate students should enroll in SOMGEN 237 for 1-3 units. To receive a letter grade in any listing, students must enroll for 3 units. This course must be taken for a letter grade and a minimum of 3 units to be eligible for Ways credit.Cross-listed with SOMGEN 237 and FEMGEN 237. HumBio students must enroll in HumBio 28 or AFRICAAM 28. An overview of the acute and chronic physical and psychological health impact of sexual abuse through the perspective of survivors of childhood, adolescent, young and middle adult, and elder abuse, including special populations such as pregnant women, military and veterans, prison inmates, individuals with mental or physical impairments. Also addresses: race/ethnicity, gender identity, sexual orientation, and other demographic and societal factors, including issues specific to college culture. Professionals with expertise in sexual assault present behavioral and prevention efforts such as bystander intervention training, medical screening, counseling and other interventions to manage the emotional trauma of abuse. Undergraduates must enroll for 3 units. Medical and graduate students should enroll in SOMGEN 237 for 1-3 units. To receive a letter grade in any listing, students must enroll for 3 units. This course must be taken for a letter grade and a minimum of 3 units to be eligible for Ways credit.Cross-listed with SOMGEN 237 and FEMGEN 237. HumBio students must enroll in HumBio 28 or AFRICAAM 28. An overview of the acute and chronic physical and psychological health impact of sexual abuse through the perspective of survivors of childhood, adolescent, young and middle adult, and elder abuse, including special populations such as pregnant women, military and veterans, prison inmates, individuals with mental or physical impairments. Also addresses: race/ethnicity, gender identity, sexual orientation, and other demographic and societal factors, including issues specific to college culture. Professionals with expertise in sexual assault present behavioral and prevention efforts such as bystander intervention training, medical screening, counseling and other interventions to manage the emotional trauma of abuse. Undergraduates must enroll for 3 units. Medical and graduate students should enroll in SOMGEN 237 for 1-3 units. To receive a letter grade in any listing, students must enroll for 3 units. This course must be taken for a letter grade and a minimum of 3 units to be eligible for Ways credit.

Overview of ancient Egyptian pasts, from predynastic times to Greco-Roman rule, roughly 3000 BCE to 30 BCE. Attention to archaeological sites and artifacts; workings of society; and cultural productions, both artistic and literary. Participation in class is required.Overview of ancient Egyptian pasts, from predynastic times to Greco-Roman rule, roughly 3000 BCE to 30 BCE. Attention to archaeological sites and artifacts; workings of society; and cultural productions, both artistic and literary. Participation in class is required.Overview of ancient Egyptian pasts, from predynastic times to Greco-Roman rule, roughly 3000 BCE to 30 BCE. Attention to archaeological sites and artifacts; workings of society; and cultural productions, both artistic and literary. Participation in class is required.

(Same as HISTORY 147. History majors and others taking 5 units, register for 147.) Introduction, focusing particularly on the modern era. Topics include: precolonial African societies; European colonization; the impact of the mineral revolution; the evolution of African and Afrikaner nationalism; the rise and fall of the apartheid state; the politics of post-apartheid transformation; and the AIDS crisis.(Same as HISTORY 147. History majors and others taking 5 units, register for 147.) Introduction, focusing particularly on the modern era. Topics include: precolonial African societies; European colonization; the impact of the mineral revolution; the evolution of African and Afrikaner nationalism; the rise and fall of the apartheid state; the politics of post-apartheid transformation; and the AIDS crisis.(Same as HISTORY 147. History majors and others taking 5 units, register for 147.) Introduction, focusing particularly on the modern era. Topics include: precolonial African societies; European colonization; the impact of the mineral revolution; the evolution of African and Afrikaner nationalism; the rise and fall of the apartheid state; the politics of post-apartheid transformation; and the AIDS crisis.

Continuationof AMELANG 144C. Expands students' proficiency in Persian language and culture at intermediate level through various texts and multimedia. It stresses oral fluency, written expression, and reading comprehension. Students will continue to learn the language with an emphasis on communicative and interactive classroom activities. Students will be introduced to contemporary as well as classical short poems by famous Persian poets like Rumi. Prerequisite: Placement Test, AMELANG 144C.Continuationof AMELANG 144C. Expands students' proficiency in Persian language and culture at intermediate level through various texts and multimedia. It stresses oral fluency, written expression, and reading comprehension. Students will continue to learn the language with an emphasis on communicative and interactive classroom activities. Students will be introduced to contemporary as well as classical short poems by famous Persian poets like Rumi. Prerequisite: Placement Test, AMELANG 144C.Continuationof AMELANG 144C. Expands students' proficiency in Persian language and culture at intermediate level through various texts and multimedia. It stresses oral fluency, written expression, and reading comprehension. Students will continue to learn the language with an emphasis on communicative and interactive classroom activities. Students will be introduced to contemporary as well as classical short poems by famous Persian poets like Rumi. Prerequisite: Placement Test, AMELANG 144C.

Accelerated Second-Year Swahili, Part 1. Accelerated Swahili second year is the third part of the accelerated sequence. It is designed for students who have prior experience studying Swahili. Completion of accelerated first year Swahili , or equivalent is a prerequisite. Students acquire proficiency in Swahili at an accelerated pace through intensive listening, speaking, reading, and writing, with special insight into Swahili-speaking cultures. Emphasis is on authentic materials and active use of the language in real-world contexts in order to develop functional abilities.Accelerated Second-Year Swahili, Part 1. Accelerated Swahili second year is the third part of the accelerated sequence. It is designed for students who have prior experience studying Swahili. Completion of accelerated first year Swahili , or equivalent is a prerequisite. Students acquire proficiency in Swahili at an accelerated pace through intensive listening, speaking, reading, and writing, with special insight into Swahili-speaking cultures. Emphasis is on authentic materials and active use of the language in real-world contexts in order to develop functional abilities.Accelerated Second-Year Swahili, Part 1. Accelerated Swahili second year is the third part of the accelerated sequence. It is designed for students who have prior experience studying Swahili. Completion of accelerated first year Swahili , or equivalent is a prerequisite. Students acquire proficiency in Swahili at an accelerated pace through intensive listening, speaking, reading, and writing, with special insight into Swahili-speaking cultures. Emphasis is on authentic materials and active use of the language in real-world contexts in order to develop functional abilities.

Visual artists have long been in the forefront of social criticism in America. Since the 1960s, various visual strategies have helped emergent progressive political movements articulate and represent complex social issues. Which artists and particular art works/projects have become key anchors for discourses on racism, sexism, economic and social inequality, and immigrant rights? We will learn about a spectrum of political art designed to raise social awareness, spark social change and rouse protest. The Art Workers? Coalition?s agit-prop opposing the Vietnam War and ACT-UP?s emblematic signs and symbols during the AIDS/HIV crisis of the 1980s galvanized a generation into action. Works such as Judy Chicago?s The Dinner Party (1979), Fred Wilson?s Mining the Museum (1992), and Glenn Ligon?s paintings appropriating fragments from African-American literature all raised awareness by excavating historical evidence of the long legacy of marginalization and modeled ways of resisting that marginalization. For three decades feminist artists Barbara Kruger and the Guerilla Girls have combined institutional critique and direct address into a provocative form of criticality. Recent art for social justice is reaching ever broadening publics by redrawing the role of artist and audience exemplified by the democratization of poster making and internet campaigns of the Occupy and #BlackLivesMatter movements. Why are each of these examples successful as influential and enduring markers of social criticism? We will also consider the visual culture of new protest strategies in the Post-Occupy era. What have these socially responsive practices contributed to our understanding of American history? We will conclude with an investigation into large-scale transnational participatory projects, including Tania Bruguera?s Immigrant Movement International and Ai Weiwei?s @Large on Alcatraz Island.Visual artists have long been in the forefront of social criticism in America. Since the 1960s, various visual strategies have helped emergent progressive political movements articulate and represent complex social issues. Which artists and particular art works/projects have become key anchors for discourses on racism, sexism, economic and social inequality, and immigrant rights? We will learn about a spectrum of political art designed to raise social awareness, spark social change and rouse protest. The Art Workers? Coalition?s agit-prop opposing the Vietnam War and ACT-UP?s emblematic signs and symbols during the AIDS/HIV crisis of the 1980s galvanized a generation into action. Works such as Judy Chicago?s The Dinner Party (1979), Fred Wilson?s Mining the Museum (1992), and Glenn Ligon?s paintings appropriating fragments from African-American literature all raised awareness by excavating historical evidence of the long legacy of marginalization and modeled ways of resisting that marginalization. For three decades feminist artists Barbara Kruger and the Guerilla Girls have combined institutional critique and direct address into a provocative form of criticality. Recent art for social justice is reaching ever broadening publics by redrawing the role of artist and audience exemplified by the democratization of poster making and internet campaigns of the Occupy and #BlackLivesMatter movements. Why are each of these examples successful as influential and enduring markers of social criticism? We will also consider the visual culture of new protest strategies in the Post-Occupy era. What have these socially responsive practices contributed to our understanding of American history? We will conclude with an investigation into large-scale transnational participatory projects, including Tania Bruguera?s Immigrant Movement International and Ai Weiwei?s @Large on Alcatraz Island.Visual artists have long been in the forefront of social criticism in America. Since the 1960s, various visual strategies have helped emergent progressive political movements articulate and represent complex social issues. Which artists and particular art works/projects have become key anchors for discourses on racism, sexism, economic and social inequality, and immigrant rights? We will learn about a spectrum of political art designed to raise social awareness, spark social change and rouse protest. The Art Workers? Coalition?s agit-prop opposing the Vietnam War and ACT-UP?s emblematic signs and symbols during the AIDS/HIV crisis of the 1980s galvanized a generation into action. Works such as Judy Chicago?s The Dinner Party (1979), Fred Wilson?s Mining the Museum (1992), and Glenn Ligon?s paintings appropriating fragments from African-American literature all raised awareness by excavating historical evidence of the long legacy of marginalization and modeled ways of resisting that marginalization. For three decades feminist artists Barbara Kruger and the Guerilla Girls have combined institutional critique and direct address into a provocative form of criticality. Recent art for social justice is reaching ever broadening publics by redrawing the role of artist and audience exemplified by the democratization of poster making and internet campaigns of the Occupy and #BlackLivesMatter movements. Why are each of these examples successful as influential and enduring markers of social criticism? We will also consider the visual culture of new protest strategies in the Post-Occupy era. What have these socially responsive practices contributed to our understanding of American history? We will conclude with an investigation into large-scale transnational participatory projects, including Tania Bruguera?s Immigrant Movement International and Ai Weiwei?s @Large on Alcatraz Island.

Required for American Studies majors. In this seminar we trace diverse and changing interpretations of American identity by exploring autobiographical, literary, and/or visual texts from the 18th through the 20th century in conversation with sociological, political, and historical accounts.Required for American Studies majors. In this seminar we trace diverse and changing interpretations of American identity by exploring autobiographical, literary, and/or visual texts from the 18th through the 20th century in conversation with sociological, political, and historical accounts.Required for American Studies majors. In this seminar we trace diverse and changing interpretations of American identity by exploring autobiographical, literary, and/or visual texts from the 18th through the 20th century in conversation with sociological, political, and historical accounts.

How novelists, filmmakers, and poets perceive racial, ethnic, gender, sexual orientation, and class borders in the context of a current volatile national discussion about the place of Americans both here and in the world. How Anna Deavere Smith, Sherman Alexie, Shailja Patel or Ta-Nehisi Coates consider redrawing such lines so that center and margin, or self and other, do not remain fixed and divided. How linguistic borderlines within multilingual literature by Caribbean, Arab, and Asian Americans function. Can Anzaldua's 1986 conception of borderlands be constructed through the matrix of language, dreams, music, and cultural memories in these recent American narratives? Course includes creatively examining one's own identity.How novelists, filmmakers, and poets perceive racial, ethnic, gender, sexual orientation, and class borders in the context of a current volatile national discussion about the place of Americans both here and in the world. How Anna Deavere Smith, Sherman Alexie, Shailja Patel or Ta-Nehisi Coates consider redrawing such lines so that center and margin, or self and other, do not remain fixed and divided. How linguistic borderlines within multilingual literature by Caribbean, Arab, and Asian Americans function. Can Anzaldua's 1986 conception of borderlands be constructed through the matrix of language, dreams, music, and cultural memories in these recent American narratives? Course includes creatively examining one's own identity.How novelists, filmmakers, and poets perceive racial, ethnic, gender, sexual orientation, and class borders in the context of a current volatile national discussion about the place of Americans both here and in the world. How Anna Deavere Smith, Sherman Alexie, Shailja Patel or Ta-Nehisi Coates consider redrawing such lines so that center and margin, or self and other, do not remain fixed and divided. How linguistic borderlines within multilingual literature by Caribbean, Arab, and Asian Americans function. Can Anzaldua's 1986 conception of borderlands be constructed through the matrix of language, dreams, music, and cultural memories in these recent American narratives? Course includes creatively examining one's own identity.

This course will trace how contemporary beliefs and practices connect to historical trends in the American religious landscape.This course will trace how contemporary beliefs and practices connect to historical trends in the American religious landscape.This course will trace how contemporary beliefs and practices connect to historical trends in the American religious landscape.

This course focuses on anthropologists? engagement with photographs as part of their research and writing. In thinking about the relationship between text and image, we will consider how photographs have been used as documentation, data, evidence, art, illustration, and research tools. The course examines some ethical and aesthetic issues anthropologists have struggled with when producing, analyzing, writing about, investigating with and publishing photographs. Students in this course will take and display photographs, as well as discuss, analyze, read about and write about them.This course focuses on anthropologists? engagement with photographs as part of their research and writing. In thinking about the relationship between text and image, we will consider how photographs have been used as documentation, data, evidence, art, illustration, and research tools. The course examines some ethical and aesthetic issues anthropologists have struggled with when producing, analyzing, writing about, investigating with and publishing photographs. Students in this course will take and display photographs, as well as discuss, analyze, read about and write about them.This course focuses on anthropologists? engagement with photographs as part of their research and writing. In thinking about the relationship between text and image, we will consider how photographs have been used as documentation, data, evidence, art, illustration, and research tools. The course examines some ethical and aesthetic issues anthropologists have struggled with when producing, analyzing, writing about, investigating with and publishing photographs. Students in this course will take and display photographs, as well as discuss, analyze, read about and write about them.

The course explores archaeological GIS and the techniques adopted to acquire, evaluate and manage spatial data. The students will be provided both with theoretical and practical principles of GIS for archaeological use and site management. Students will learn a complete GIS workflow, from data acquisition to decision making. They will use Venice, a multilayered site, as a test case. The course will examine practical evaluation processes in consideration of current and future development projects in the Venetian lagoon, listed as a UNESCO World Heritage Site.The course explores archaeological GIS and the techniques adopted to acquire, evaluate and manage spatial data. The students will be provided both with theoretical and practical principles of GIS for archaeological use and site management. Students will learn a complete GIS workflow, from data acquisition to decision making. They will use Venice, a multilayered site, as a test case. The course will examine practical evaluation processes in consideration of current and future development projects in the Venetian lagoon, listed as a UNESCO World Heritage Site.The course explores archaeological GIS and the techniques adopted to acquire, evaluate and manage spatial data. The students will be provided both with theoretical and practical principles of GIS for archaeological use and site management. Students will learn a complete GIS workflow, from data acquisition to decision making. They will use Venice, a multilayered site, as a test case. The course will examine practical evaluation processes in consideration of current and future development projects in the Venetian lagoon, listed as a UNESCO World Heritage Site.